Revision | Netflix hits the nail on the head with shocking dystopian fantasy ‘Sweet Tooth’

In another of its original forays, Netflix decided to take it a little more daring and bring Jeff Lemire’s acclaimed comic book “Sweet Tooth” to life. Executive produced by none other than Robert Downey Jr. and his wife, Susan Downey, the eight-part series takes us to a dystopian world ravaged by a deadly virus and the scene of racial clash between humans and hybrids (children with characteristics of both human and animal and which become targets of persecution).

It’s a fact to say that the streaming giant has, in recent months, crafted immature productions, so to speak, that have failed to capture the essence of the original works – as it did with the thriller. derisory “A Mulher na Janela”, starring Amy Adams and the forgettable (and now canceled) ‘Legacy of Jupiter’, based on the comics by Mark Millar and Frank Quitely. It’s no surprise that we were surprised when the replay from one of the contemporary scene’s most respected and well-known artists was announced; however, all existing doubts were quickly swept under the rug by an extremely competent, engaging, shocking and profound narrative, using a beautiful metaphor for the different situations that social minorities face today – and perhaps a very didactic lesson. on the evils of the unjustifiable prejudices.

Along with countless forays into the genre, “Sweet Tooth” opens in a way that is familiar enough to capture audiences’ attention, though not as daring as one might think. Guided by James Brolin’s point-in-time narration, the pilot functions as a presentation of a universe on the verge of drastic change: on the one hand, we have a deadly disease that decimates a large part of humanity and throws the survivors into the world. total obscurantism and the lack of prospects. . Known as the Scourge, the virus not only served to “cleanse” the planet from the tuberculous plague that plagued it (man himself), but also served as the kick-off to an evolutionary stage that has assimilated humans to animals. And of course, the two events would be destructively correlated, prompting a group known as The Last Men to hunt them down either to exterminate them or to extract a potential cure.

The bond that unites these multiple subplots is Gus (Christian Convery), a ten-year-old deer boy who grew up and spent his entire life hiding in the middle of a reservation in Nebraska, USA, not living with none other than his father (played by Will Strong). Without any knowledge of what was going on beyond the barriers that protected him, Gus faces traumatic experiences that lead him to leave the past behind and search for his mother (who may or may not be deceased). When he crosses paths with former professional athlete Tommy Jepperd (Nonso Anozie), who worked as a hybrid fighter before turning on the group, he realizes that things aren’t that easy.

The series is gaining notoriety for the way it structures the story. While nothing is essentially original or revolutionary, Jim Mickle, who developed the work and took the helm of the first episode, brilliantly leads an adventurous analysis of what it means to live in disorder. Gus and Jepperd are bordered by totally different personalities and they confront each other in chaotic constancy, initially not harboring affection for each other to culminate in mutual respect and affection that turns them into a family. . But they are not the only ones to appreciate the moments of protagonism, in particular because of the subtle multi-chronological movement that Mickle sets up.

In addition to them, we have the plot that does not isolate itself, but branches out into the relationship of Dr. Aditya “Adi” Singh (Adeel Akhtar) and his wife, Rani (Aliza Vellani). Adi quit her profession after the Scourge to care for Rani, who contracted the virus, but was quickly treated with medication that eliminated her symptoms. Things change when Adi realizes that efforts to protect her from a horde of psychotic and neurotic neighbors are not enough amid a new wave of infections that is growing day by day; on another spectrum, we have Aimee (Dania Ramirez), a former psychologist who, living in confinement months after the outbreak of the pandemic, discovered a new purpose in her life when she met the hybrid Wendy (Naledi Murray) and founded a shelter to save mutant children.

Perhaps one of the only misconceptions of the first season is the forgetting of general antagonist Steven Abbot (Neil Sandilands). Although he makes dense appearances throughout the episodes, the impending power he wields in a community ruled by fear is somewhat evident and takes a back seat. Either way, all other aspects are handled with the utmost caution, from a dynamic pace to a well-crafted script that takes the time to deliver the twists and key points of the catharsis – and talking about the incredible visual effects is almost unnecessary and redundant. , considering that we expected nothing less than captivating exuberance.

“Sweet Tooth” is a great addition to Netflix’s vast catalog, and unlike the other titles in it, it doesn’t try to deliver more than it can. On the contrary, the ambiguous splendor that the show’s creative team deals with is admirable, ensuring that the pieces of this intricate gear work from start to finish.

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